Downloaded from https://www.cambridge.org/core. Helsinki University Library, on 28 Nov 2019 at 18:32:10, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://doi.org/10.1017/9781108624886 Downloaded from https://www.cambridge.org/core. Helsinki University Library, on 28 Nov 2019 at 18:32:10, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://doi.org/10.1017/9781108624886 Elements in Publishing and Book Culture edited by Samantha Rayner University College London Rebecca Lyons University of Bristol THE ANGLO-NORMAN HISTORICAL CANON Publishing and Manuscript Culture Jaakko Tahkokallio University of Helsinki, National Library of Finland Downloaded from https://www.cambridge.org/core. Helsinki University Library, on 28 Nov 2019 at 18:32:10, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://doi.org/10.1017/9781108624886 University Printing House, Cambridge CB2 8BS, United Kingdom One Liberty Plaza, 20th Floor, New York, NY 10006, USA 477 Williamstown Road, Port Melbourne, VIC 3207, Australia 314–321, 3rd Floor, Plot 3, Splendor Forum, Jasola District Centre, New Delhi – 110025, India 79 Anson Road, #06–04/06, Singapore 079906 Cambridge University Press is part of the University of Cambridge. It furthers the University’s mission by disseminating knowledge in the pursuit of education, learning, and research at the highest international levels of excellence. www.cambridge.org Information on this title: www.cambridge.org/9781108713771 DOI: 10.1017/9781108624886 © Jaakko Tahkokallio 2019 This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. An online version of this work is published at http://dx.doi.org/10.1017/9781108624886 under a Creative Commons Open Access license CC-BY-NC-ND 4.0 which permits re-use, distribution and reproduction in any medium for non-commercial purposes providing appropriate credit to the original work is given. You may not distribute derivative works without permission. To view a copy of this license, visit https://creativecommons.org/ licenses/by-nc-nd/4.0 All versions of this work may contain content reproduced under license from third parties. Permission to reproduce this third-party content must be obtained from these third parties directly. When citing this work, please include a reference to the DOI 10.1017/9781108624886 First published 2019 A catalogue record for this publication is available from the British Library. ISBN 978-1-108-71377-1 Paperback ISSN 2514-8524 (online) ISSN 2514-8516 (print) Cambridge University Press has no responsibility for the persistence or accuracy of URLs for external or third-party internet websites referred to in this publication Downloaded from https://www.cambridge.org/coreand does not guarantee that any. Helsinki content University on such Library websites, on is, 28 or Nov will 2019 remain, at 18:32:10, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/termsaccurate or appropriate. https://doi.org/10.1017/9781108624886 The Anglo-Norman Historical Canon Publishing and Manuscript Culture Elements in Publishing and Book Culture DOI: 10.1017/9781108624886 First published online: June 2019 Jaakko Tahkokallio University of Helsinki, National Library of Finland Author for correspondence: Jaakko Tahkokallio jaakko.tahkokallio@helsinki.fi Abstract: This Element is a contribution to the ongoing debate on what it meant to publish a book in manuscript. It offers a case study of three twelfth-century Anglo-Norman historians: William of Malmesbury, Henry of Huntingdon, and Geoffrey of Monmouth. It argues that the contemporary success and rapid attainment of canonical authority for their histories were in significant measure the result of successfully conducted publishing activities. These activities are analysed using the concept of a ‘publishing circle’. This concept, it is suggested, may have wider utility in the study of authorial publishing in a manuscript culture. This Element is also available as Open Access on Cambridge Core at doi.org/10.1017/9781108624886 KEYWORDS: historiography, manuscripts, publishing © Jaakko Tahkokallio 2019 ISBNs: 9781108713771 (PB), 9781108624886 (OC) ISSNs: 2514-8524 (online), ISSN 2514-8516 (print) Downloaded from https://www.cambridge.org/core. Helsinki University Library, on 28 Nov 2019 at 18:32:10, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://doi.org/10.1017/9781108624886 Contents 1 Introduction 1 2 William of Malmesbury 18 3 Henry of Huntingdon 33 4 Geoffrey of Monmouth 48 5 Conclusions 70 References 78 Downloaded from https://www.cambridge.org/core. Helsinki University Library, on 28 Nov 2019 at 18:32:10, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://doi.org/10.1017/9781108624886 Publishing and Book Culture 1 1 Introduction Since the emergence of the scholarly field of book history, it has been customary to see the printed book as an agent of change. By being typeset, printed, and issued in large numbers – by being published – texts can penetrate society and change how its members perceive the world. In considering the preprint literary world, our analytical approach has tended towards the opposite direction. We look at the numbers of surviving manuscript copies of a text from the Middle Ages and we typically assess them as signifiers of the interests of the times, as cultural objects and not as evidence of an attempt to distribute a given text. Whereas Aldus Manutius, publishing classical texts in Venice around 1500, is seen as an actor who made a contribution to the diffusion of humanistic modes, the proliferation of copies of Cicero’s works in the twelfth century is taken instead to indicate a growing interest in classical Latin literature. The printed book sets change in motion; the manuscript book is merely the effect of change. Analogically, when we reflect on the literary success of a given work in the world of print, we almost reflexively think about the role publishing played in its making. In a manuscript culture, by way of contrast, the dissemination of a work is typically understood as an organic process, taking place outside the author’s control and often extending far beyond his or her lifetime. To a point, this difference in perspective is valid and natural. The printing press makes of publishing a clearly defined action taking place at aspecific moment; furthermore, owing to the financial burden involved in printing an edition, it also makes publishing inherently commercial and promotional. In medieval manuscript culture, publishing is not an act similarly defined by any mechanical operation or investment in large-scale production belonging to a particular point in time. As Daniel Hobbins has emphasised, publishing in manuscript culture is always a diffuse process.1 We should not, however, assume that this process was typically innocent or void of authorial intentions. What is the point of writing in any context – print, manuscript, or digital – if not for an audience? Printing may have 1 D. Hobbins, Authorship and Publicity before Print: Jean Gerson and the Transformation of Late Medieval Learning (Philadelphia: University of Pennsylvania Press, 2009), p. 154. Downloaded from https://www.cambridge.org/core. Helsinki University Library, on 28 Nov 2019 at 18:32:10, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://doi.org/10.1017/9781108624886 2 The Anglo-Norman Historical Canon raised the stakes by greatly enlarging the potential audience and making a wide distribution much easier to achieve but it did not change the funda- mental rationale of publishing as an interface between an author and an audience. What is more, while a limited audience of close associates was enough for some medieval authors, narrative evidence clearly shows that others intended to make their works available in an open literary public sphere, the existence of which seems to have been generally acknowledged. That no single actor could play the distributive role of the printer should not obscure the fact that authorial publishing did happen in the manuscript context and that its fundamental goal was the same as in the age of print: making a new text available to an audience. In what follows, I present both a methodological suggestion about how authorial publishing can be conceptualised in manuscript culture and an empirical application of this proposed conceptual framework. My key analytical proposition, around which this study is organised, is that authorial publishing in manuscript culture was about creating a task force – a publish- ing circle – to drive forward the distribution of a text. The publishing circle, again, operated within a wider network of literary connections and modalities of book production which provided the intellectual and material infrastruc- ture for dissemination: in brief, a ‘publishing framework’.Methodologically, I suggest that these twin concepts of publishing circle and publishing frame- work can provide a helpful pair of tools for empirical analysis of authorial publishing in any manuscript context. The substance of this study consists of an application of this approach to three twelfth-century Anglo-Norman historians. The works which I will examine are the Historia Anglorum by Henry of Huntingdon (c.1088–1157), Gesta regum Anglorum by William of Malmesbury (b. c.1090, d. in or after 1142) and De gestis Britonum by Geoffrey of Monmouth (d. 1154/5). Besides offering a contribution to the study of publishing in manuscript culture per se, I aim to provide a better vantage point for the appreciation of these works in their historical context. All these texts attained canonical authority soon after their appearance and they came to provide the starting point for all later medieval histories of Britain, whether in Latin or in the vernacular.